Awkward syntax aside, Me and Orson Welles would be a much better movie if the first part of the title were excised, or at least scaled back.

The story pertaining to Orson Welles (terrifically played by Christian McKay) is far more compelling than what happens to the young guy who gets unexpectedly swept up in Welles' brilliant circle. Had the movie, which is set in 1937, centered more on Welles and his seminal production of Julius Caesar, it would have been fascinating. But as a theatrical coming-of-age story, it's slight, only sporadically enjoyable and sometimes corny.

McKay's performance is a revelation. He nails Welles' imperiousness, charm and vocal cadences, and even bears a strong resemblance to the iconic actor/director. He is thoroughly convincing as Welles and electrifies the screen when he's on it

The Me in the title refers to a teenage aspiring actor named Richard, played by Zac Efron. Unfortunately, too much time is spent with Efron, a likable but lackluster presence.

By a stroke of luck, 17-year-old Richard wins a part in Welles' Caesar. He strolls by New York's Mercury Theater one afternoon, and the next thing he knows he's drafted to play the ukulele (which doubles as a lute) and given a role opposite Welles' Brutus.

Over the course of a week, Richard, dubbed "Junior," is pulled into the impetuous Welles' inner circle and finds romance with an older woman (Claire Danes). Efron is hampered by occasional mumbling and lacks the chemistry with Danes to make their connection believable. And Richard's chance meeting with an aspiring writer (Zoe Kazan) is stilted.

Much of the movie is bathed in a golden glow, and the score helps to conjure the era. But some of the dialogue sounds modern.

This is not one of director Richard Linklater's better films. It lacks the intimacy of Before Sunset and the sense of celebration of The School of Rock. The movie is worth seeing for McKay, but it sometimes feels like two movies cobbled together. Efron's Richard is somewhat of a cipher. It's unclear why he's drawn to acting, though he eventually realizes that he is committed to being a part of the artistic world.

Welles would use the same encouraging words to pump up his chosen players. At one point he praises Richard's "magnificence." Though Welles doesn't consistently enthrall as a tribute to the stage, McKay is a magnificent surprise.

To report corrections and clarifications, contact Reader Editor Brent Jones. For publication consideration in the newspaper, send comments to letters@usatoday.com. Include name, phone number, city and state for verification. To view our corrections, go to corrections.usatoday.com.

Guidelines: You share in the USA TODAY community, so please keep your comments smart and civil. Don't attack other readers personally, and keep your language decent. Use the "Report Abuse" button to make a difference. Read more.